Do you feel like you're moving towards your ideal process, then? Or is it dependent on the individual film?
It changes from project to project, it really does. The film I'm about to do, will probably be 95-100% unimprovised, because it's such a great script. But then, if something's not working, I'm so comfortable with just throwing lines out, or playing around. I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that, they're actors, not writers. So it really depends on the individual performers. You're working again with Rosemarie here. Do you feel like you're building up a rep company? Are there actors here you'd like to work with again?
There are. I'd love to work with Mark again, Rose, all the actors I've worked with. But there's so many others, I'm such an actor geek as a director, and sometimes I despair, because there are so many people I admire, and I know i'm not going to get to work with them all, and I get very sad about that sometimes. But it really does mean that I want to keep reaching out, and they reach out to me sometimes, and I start thinking about characters for them. So short of having some vast ensemble cast, fiftyfold... But I like both, working with new people and discovering how to unlock their particular process, to help open them up.It's endlessly fascinating to me. Beyond Rosemarie and Josh, were you writing with any of the cast in mind?
In fact, Allison's role was going to be Catherine Keener
, who's become a friend of mine. She had committed, but then another project came up that she was developing, that she was actually going to direct, and it was all greenlit and going and she had to drop out, but she introduced me to Allison, who it turned out was a fan of my work. And she's very good friends with Ellen Page
, and connected me with Ellen as well. So she was almost an additional casting director. And Scoot's role was actually going to be played by Mark Webber
, who I'd met at Sundance
, and who's in my new movie. We were really excited about working today, and had lots of long conversations and developed the character, and he'd actually been a bike messenger, and had all this inside knowledge. But what happened is that Rosemarie got cast in Gus Van Sant
's movie "Promised Land
," and they were shooting when we planning on shooting, in May, so we had to pull it forward three weeks, and Mark was already committed to play the lead in another movie. So it was sad, but getting Scoot to play it, we felt quite blessed.
The film's on a bigger scale than anything you've tackled before, in terms of scope, and number of storylines. And yet it still feels very intimate, which is appropriate because it feels, to me, like a film about intimacy. How conscious was that sort of dichotomy?
I had this territory I wanted to explore, and I also knew I wanted it to be more characters, and more storylines. My three previous films all took place over a long weekend, one story linearly told. This one, I tried to edit it myself, and it was such a puzzle to figure out this balancing act, how long do you stay away from each story, not losing track of different characters. But it just sort of happened like that. I always find that the starting point of each of my films ends up expanding, it becomes about other things, there are other layers I could never really have foreseen. So I don't know if intimacy was exactly on my mind, and I agree with you, I think it's definitely about intimacy. It was more that it was wanting to see where these two character arcs would lead, and then all these other storylines got included too. But I'm glad it feels intimate, that makes me feel happy. You said that you went back to being your own editor on this film. Is that likely to be the case going forward?
On this film, I feel like I got a lot out of my system. It feels very intimate for me, a very personal film, because it was inside me and I had to get it out. And the editing part of it... during "Your Sister's Sister," the editor I worked with on that and "Humpday
" is brilliant, and we're great together as a team, it's like a two headed monster in the room. But then on "Your Sister's Sister," there were too many times where I wanted to take the control out of his hand, and do it myself. I really had this urge to be in the driver's seat again. I'm really glad I went through it, but it was hard, and lonely, and grueling, so I'm definitely ready to go back to a collaborative experience again. I could see myself doing it again, but not right now...
Magnolia will release "Touchy Feely" later this year.